茶 FIRST IMPRESSIONS
茶 REVIEW OF BOOKS & FILMS

[REVIEW] “A Librarian’s Take on Zheng Liu’s Cultural Mavericks: The Business and Politics of Independent Bookselling in China” by Raymond Pun

Click HERE to read all entries in Cha 
on Cultural Mavericks.

Zheng Liu, Cultural Mavericks: The Business and Politics of Independent Bookselling in China, Cambridge University Press, 2026. 280 pgs.

Whenever I travel to a new area, whether within the United States or elsewhere in the world, I make a point of visiting a local bookshop.

As a librarian, my focus is consistently on acquiring and promoting books within the library. Whether in the form of an audiobook, an eBook, or a printed volume, there are numerous creative ways to present new titles to the general public, whether through curated displays, organised programming, or social-media channels. Some of my borrowed ideas originate from bookshops, particularly independent ones, such as the popular BookTok display. Whenever I travel to a new area, whether within the United States or elsewhere in the world, I make a point of visiting a local bookshop in order to absorb its ambience and observe how books are positioned and exhibited. It is equally fascinating to note which titles are stocked, what customers are browsing or purchasing, and which works are trending locally, particularly those by regional authors. I also reflect on the supply-chain system within these bookshops, considering how books are curated, delivered, and promoted. This may appear unusual or irrelevant to non-librarians, yet it assists me and others in the field in thinking more critically about the book industry and about practices that may, or may not, translate effectively into libraries.

Cultural Mavericks: The Business and Politics of Independent Bookselling in China, a monograph by Zheng Liu, a lecturer in innovation management at the University of Bristol Business School, explores the business and politics of independent bookselling and publishing in China, documenting developments across nearly a decade from 2014 to 2023. Having spent two years working in an academic library in Shanghai from 2013 to 2015, I recall encountering a wide range of bookshops. Some were situated in shopping centres such as the popular Longzhimeng Shopping Center (龙之梦购物公园), while others were tucked into small dens near busy intersections, including one opposite East China Normal University. The latter operated within a copyright-infringing environment where one could also browse and purchase pirated films and television programmes. During a particularly busy autumn term, I visited such a shop in search of a specific title that was unavailable online but had been requested by a faculty colleague for classroom use. At the time, I did not reflect deeply on the differences between these types of bookshops, beyond noting that one was more glamorous, catering to a particular clientele, while the other was primarily oriented towards students. Liu, by contrast, examines these business practices and their approaches to patron engagement in a more systematic manner.

In the book, Liu explores “independent” and “non-independent” bookshops across various regions of China, with particular attention to major cities such as Shanghai, Hangzhou, and Beijing. Although it remains unclear whether rural independent bookshops were examined, the emphasis appears to rest predominantly on urban settings. Nevertheless, Liu’s aim may be to demystify and challenge prevailing assumptions about the concept of an “independent bookshop” in China, particularly for readers who might instinctively equate it with models found in North America, Europe, or Australia.

Liu’s ethnographic study begins with a historical examination of China’s publishing industry in the late-20th century. During this period, a major sociopolitical movement, the Cultural Revolution, profoundly reshaped reading practices, literary discourse, and cultural production. Systematic efforts at censorship and book banning took place, and, as a result, some libraries were closed. Interestingly, Liu does not engage extensively with this period or its consequences, which raises an important question regarding the broader impact of the Cultural Revolution on bookshops. While Liu’s work evokes memories of my time in Shanghai, it also prompts further reflection on the historical development of China’s publishing industry.

Drawing upon business and technological reports, government data, poetry, social and cultural theory, and interviews with bookshop owners and patrons, Liu constructs a narrative that traces how independent bookshops and their staff have operated over the past decade, and how they navigate complex business decisions. According to Liu, “not being owned by the state is universally accepted as the most important signifier of independent identity in the Chinese context.” In addition, operational autonomy and a distinct identity, characterised by a capacity for non-conformity without state interference or ownership involvement, are also defining features. Established in 1937, Xinhua Bookstore, the state-sponsored and largest bookshop chain in the country, is often regarded as the model of state-run bookselling, from which independent bookshops seek to distinguish themselves through their selections, displays, and events.

I appreciated Liu’s analysis of the economic, political, cultural, and social factors affecting independent bookshops today. Many of these challenges mirror those faced by both independent and chain bookshops in the West, including rising rents, competition from online-marketplace giants such as Amazon, difficulties in sourcing titles from small or independent presses, and, most significantly, a marked decline in readership over the past decade as audiences increasingly favour digital and audio formats. Consideration of these multilayered challenges may well discourage prospective booksellers. Nonetheless, those bookshops that endure and adapt to such uncertainties, including those examined by Liu, offer valuable insight into the role of independent bookselling in shaping economic, cultural, and political life in China, particularly within contexts where state censorship and surveillance remain significant.

Reading Liu’s work provides a revealing glimpse into the individuals who operate these independent bookshops and those who patronise them. While some owners face considerable financial hardship, others benefit from venture-capital support, as Liu observes. However, questions remain regarding the characteristics of the customer base. It would be instructive to explore more fully the relationships between patrons and independent bookshops, the factors that strengthen these connections, and the ways in which such dynamics vary among successful establishments.

One notable omission in the study is the limited discussion of public libraries and their potential overlap with independent bookshops in terms of creative practices.

One notable omission in the study is the limited discussion of public libraries and their potential overlap with independent bookshops in terms of creative practices. Libraries similarly curate displays, host author events, and possess a broader capacity to promote books. This raises questions about the relationship between public libraries and bookshops in China, and whether libraries pose any meaningful challenges to independent booksellers. In the United States, there has been a sustained debate concerning libraries and bookshops, as libraries, functioning as public goods, are sometimes perceived as a threat to booksellers and authors. However, evidence suggests that authors often benefit from library circulation and promotion, as such exposure can lead to increased book purchases. Although this issue may fall outside the immediate scope of Liu’s research, it remains a significant question that persists throughout the reading.

In conclusion, this book introduces readers to the contemporary landscape of independent bookselling in China and its many complexities. Those interested in the business and sociology of China’s bookselling industry may find Liu’s study particularly illuminating in assessing the extent to which these bookshops are truly “independent”, especially in relation to competition from Xinhua Bookstore and the broader context of digital media and the attention economy. There remains much to consider regarding how patrons of independent bookshops navigate their reading and purchasing habits in the 21st century, and why these establishments continue to align closely with their values.

^{How to cite: Pun, Raymond. “A Librarian’s Take on Zheng Liu’s Cultural Mavericks: The Business and Politics of Independent Bookselling in China.” Cha: An Asian Literary Journal, 20 Apr. 2026, chajournal.com/2026/04/20/librarian.}

Raymond Pun is an education librarian based in the United States. His writing and reviews have appeared in The Huffington Post, The Immigration and Ethnic History Society’s Blog, The Library Journal, and Booklist. Pun holds an Ed.D. from Fresno State, a Master of Library Science from CUNY Queens College, and an MA in East Asian Studies and a BA in History from St. John’s University.